Recorded during pre-concert rehearsal at Torroella de Montgri April 17 2014 .
Your next best chance to hear it live :
Paris, May 21, 2014 , Salle Gaveauhttp://www.sallegaveau.com/la-saison/831/valentina-lisitsa
Special thanks to http://www.jorquerapianos.com/ for one of the best pianos I ever encountered

History

Classical and romantic

As the piano developed and became accepted, composers naturally started writing concerti for it. This happened in the late 18th century, during the Classical music era. Wolfgang Amadeus Mozart was the most important composer in the early development of the form. Mozart's body of masterly piano concerti put his stamp firmly on the genre well into the Romantic era.

The sonatas of Domenico Scarlatti (of which there are over 500) were the hallmark of the Baroque keyboard sonata, though they were for the most part unpublished during Scarlatti's lifetime. The majority of these sonatas are in one-movement binary form, both sections being in the same tempo and utilizing the same thematic material. These sonatas are prized for both their technical difficulty and their musical and formal ingenuity. The influence of Spanish folk music is evident in Scarlatti's sonatas.

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

No. 3

No. 3 (넘버3) is a 1997 South Korean gangster comedy film starring Han Suk-kyu as the titular no. 3 man of a gangster organization who's aspiring to rise up the ranks and become the leader of his own gang. It was writer-director Song Nung-han's debut film.

Themes

In their Korean Film; History, Resistance, and Democratic Imagination, Min Eung-jun et al. state that through his portrayal of gangster society in this film, Song allegorically criticizes all of contemporary South Korean society. Calling the film a "black comedy employing satire and self-reflexivity," Min says the film represents a revisionist impulse in contemporary Korean cinema for several reasons. It uses violence allegorically not as an expression of repressed sexuality, but as an expression of the absurdity of Korean society. Also, rather than focus exclusively on male aspirations, it simultaneously shows the desires of its female characters as well. Further, in satirizing Korean society, it does not exclude the bourgeoisie from its critical eye.

Recorded during pre-concert rehearsal at Torroella de Montgri April 17 2014 .
Your next best chance to hear it live :
Paris, May 21, 2014 , Salle Gaveauhttp://www.sallegaveau.com/la-saison/831/valentina-lisitsa
Special thanks to http://www.jorquerapianos.com/ for one of the best pianos I ever encountered

Ludwig van Beethoven - "Tempest" Piano Sonata Nº 17 in D minor, Op. 31, No. 2.
Daniel Barenboim live in Berlin.
Movements:
I Largo - Allegrohttp://youtu.be/_CyZ2MFM4K8
II Adagio http://youtu.be/4gKkMVuiI6g
III Allegretto http://youtu.be/jtDAbP3UxPY
CompletePlaylist: http://www.youtube.com/watch?v=_CyZ2MFM4K8&list=PL647B3D6BE656FFC4&index=1
Written in 1802, the three sonatas of Beethoven's Op. 31 probably coincide with the drafting of his famous "Heiligenstadt Testament," in which he expresses despair at his enroaching deafness. If any of the composer's works from this year indicate that he had embarked on a new path, it is the Piano Sonata No. 17 in D minor, Op. 31/2. The composer famously dismissed an inquiry about the "meaning" of this work with the advice to read Shakespeare'sThe Tempest; given the music's overtly dramatic character, it is easy to see how Beethoven might have drawn parallels to, or even inspiration from, the Bard's famous romance. t is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars.
The first six measures present two vastly different ideas: an ascending Largo arpeggiation of the dominant chord, juxtaposed against a frenetic repeated-note Allegro figure that descends and halts abruptly on another dominant chord. It is this passage, and not the ascending forte arpeggios in the bass that appear a few measures later, that forms the main substance of the movement's first theme group. This becomes clear when, in the recapitulation, Beethoven dispenses with the forte passage, connecting the main and secondary themes with new material, which in itself is not an unusual sonata-form procedure. The whole represents the most concentrated, motivically conceived movement Beethoven had yet composed.
The second movement, Adagio, is in B flat major; the movement's tonality is worthy of comment here, since it plays an important modulatory role in the third movement. Like the first movement, the second is a sonata-allegro and opens with a broken triad; unlike the first movement, however, it lacks a development section, and has clearly articulated first and second themes.
The D minor finale is again a sonata allegro. The first theme outlines the tonic triad, while the contrasting second theme moves in almost completely stepwise fashion. In the development section Beethoven employs the first theme exclusively, using repetition and prolonged harmonies to create an overpowering sense of anticipation. Portentously, Beethoven provides further development in a coda that is as long as the exposition.
Ludwig van Beethoven
Sonata para Piano "A Tempestade" No. 17 em Ré menor, Op. 31, No. 2.
Piano Sonata No. 17 in D minor, Op. 31, No. 2, "Tempest"
Sonate pour piano no 17 en ré mineur, op. 31 no 2, " La Tempête"
Sonata per pianoforte in re minore n. 17, op. 31 no 2, "La Tempesta",
Klaviersonate Nr. 17 d-Moll op. 31 Nr. 2, "Der Sturm"
Ludwiga van Beethovena Sonata fortepianowa nr 17 d-moll op. 31 nr 2 "Burza"
Pianosonate nr. 17 in D mineur, op. 31 nr. 2
Ludwig van Beethovenin Pianosonaatti nro 17 d-molli op. 31 nro 2

47:35

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

Allegretto, third movement from Piano Sonata No. 17, Op. 31/2
Wilhelm Kempff, piano (Live)
The PianoSonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as "The Tempest" (or Der Sturm in his native German), but this title was not given by him, or indeed referred to as such during his lifetime; instead, it comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars. Renowned British music scholar, Donald Francis Tovey, in his authoritative book A Companion to Beethoven'sPianoforte Sonatas, states that "The story that Beethoven connected this sonata with The Tempest is evidently one of many such inventions by his biographer Anton Schindler". The third movement, in the key of D minor, is very moving, first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169-173. The recapitulation is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand and the coda which follows is quite substantial, reaching what can be considered the climax of the movement at measure 381, a fortissimo falling chromatic scale.
Ludwig van Beethoven (1770 - 1827)

Recorded during pre-concert rehearsal at Torroella de Montgri April 17 2014 .
Your next best chance to hear it live :
Paris, May 21, 2014 , Salle Gaveauhttp://www.sallegaveau.com/la-saison/831/valentina-lisitsa
Special thanks to http://www.jorquerapianos.com/ for one of the best pianos I ever encountered

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerk...

Recorded during pre-concert rehearsal at Torroella de Montgri April 17 2014 .
Your next best chance to hear it live :
Paris, May 21, 2014 , Salle Gaveauhttp://www.sallegaveau.com/la-saison/831/valentina-lisitsa
Special thanks to http://www.jorquerapianos.com/ for one of the best pianos I ever encountered

Recorded during pre-concert rehearsal at Torroella de Montgri April 17 2014 .
Your next best chance to hear it live :
Paris, May 21, 2014 , Salle Gaveauhttp://www.sallegaveau.com/la-saison/831/valentina-lisitsa
Special thanks to http://www.jorquerapianos.com/ for one of the best pianos I ever encountered

Ludwig van Beethoven - "Tempest" Piano Sonata Nº 17 in D minor, Op. 31, No. 2.
Daniel Barenboim live in Berlin.
Movements:
I Largo - Allegrohttp://youtu.be/_CyZ2MFM4K8
II Adagio http://youtu.be/4gKkMVuiI6g
III Allegretto http://youtu.be/jtDAbP3UxPY
CompletePlaylist: http://www.youtube.com/watch?v=_CyZ2MFM4K8&list=PL647B3D6BE656FFC4&index=1
Written in 1802, the three sonatas of Beethoven's Op. 31 probably coincide with the drafting of his famous "Heiligenstadt Testament," in which he expresses despair at his enroaching deafness. If any of the composer's works from this year indicate that he had embarked on a new path, it is the Piano Sonata No. 17 in D minor, Op. 31/2. The composer famously dismissed an inquiry about the "meaning" of this work with the advice to read Shakespeare'sThe Tempest; given the music's overtly dramatic character, it is easy to see how Beethoven might have drawn parallels to, or even inspiration from, the Bard's famous romance. t is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars.
The first six measures present two vastly different ideas: an ascending Largo arpeggiation of the dominant chord, juxtaposed against a frenetic repeated-note Allegro figure that descends and halts abruptly on another dominant chord. It is this passage, and not the ascending forte arpeggios in the bass that appear a few measures later, that forms the main substance of the movement's first theme group. This becomes clear when, in the recapitulation, Beethoven dispenses with the forte passage, connecting the main and secondary themes with new material, which in itself is not an unusual sonata-form procedure. The whole represents the most concentrated, motivically conceived movement Beethoven had yet composed.
The second movement, Adagio, is in B flat major; the movement's tonality is worthy of comment here, since it plays an important modulatory role in the third movement. Like the first movement, the second is a sonata-allegro and opens with a broken triad; unlike the first movement, however, it lacks a development section, and has clearly articulated first and second themes.
The D minor finale is again a sonata allegro. The first theme outlines the tonic triad, while the contrasting second theme moves in almost completely stepwise fashion. In the development section Beethoven employs the first theme exclusively, using repetition and prolonged harmonies to create an overpowering sense of anticipation. Portentously, Beethoven provides further development in a coda that is as long as the exposition.
Ludwig van Beethoven
Sonata para Piano "A Tempestade" No. 17 em Ré menor, Op. 31, No. 2.
Piano Sonata No. 17 in D minor, Op. 31, No. 2, "Tempest"
Sonate pour piano no 17 en ré mineur, op. 31 no 2, " La Tempête"
Sonata per pianoforte in re minore n. 17, op. 31 no 2, "La Tempesta",
Klaviersonate Nr. 17 d-Moll op. 31 Nr. 2, "Der Sturm"
Ludwiga van Beethovena Sonata fortepianowa nr 17 d-moll op. 31 nr 2 "Burza"
Pianosonate nr. 17 in D mineur, op. 31 nr. 2
Ludwig van Beethovenin Pianosonaatti nro 17 d-molli op. 31 nro 2

Ludwig van Beethoven - "Tempest" Piano Sonata Nº 17 in D minor, Op. 31, No. 2.
Daniel Barenboim live in Berlin.
Movements:
I Largo - Allegrohttp://youtu.be/_CyZ2MFM4K8
II Adagio http://youtu.be/4gKkMVuiI6g
III Allegretto http://youtu.be/jtDAbP3UxPY
CompletePlaylist: http://www.youtube.com/watch?v=_CyZ2MFM4K8&list=PL647B3D6BE656FFC4&index=1
Written in 1802, the three sonatas of Beethoven's Op. 31 probably coincide with the drafting of his famous "Heiligenstadt Testament," in which he expresses despair at his enroaching deafness. If any of the composer's works from this year indicate that he had embarked on a new path, it is the Piano Sonata No. 17 in D minor, Op. 31/2. The composer famously dismissed an inquiry about the "meaning" of this work with the advice to read Shakespeare'sThe Tempest; given the music's overtly dramatic character, it is easy to see how Beethoven might have drawn parallels to, or even inspiration from, the Bard's famous romance. t is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars.
The first six measures present two vastly different ideas: an ascending Largo arpeggiation of the dominant chord, juxtaposed against a frenetic repeated-note Allegro figure that descends and halts abruptly on another dominant chord. It is this passage, and not the ascending forte arpeggios in the bass that appear a few measures later, that forms the main substance of the movement's first theme group. This becomes clear when, in the recapitulation, Beethoven dispenses with the forte passage, connecting the main and secondary themes with new material, which in itself is not an unusual sonata-form procedure. The whole represents the most concentrated, motivically conceived movement Beethoven had yet composed.
The second movement, Adagio, is in B flat major; the movement's tonality is worthy of comment here, since it plays an important modulatory role in the third movement. Like the first movement, the second is a sonata-allegro and opens with a broken triad; unlike the first movement, however, it lacks a development section, and has clearly articulated first and second themes.
The D minor finale is again a sonata allegro. The first theme outlines the tonic triad, while the contrasting second theme moves in almost completely stepwise fashion. In the development section Beethoven employs the first theme exclusively, using repetition and prolonged harmonies to create an overpowering sense of anticipation. Portentously, Beethoven provides further development in a coda that is as long as the exposition.
Ludwig van Beethoven
Sonata para Piano "A Tempestade" No. 17 em Ré menor, Op. 31, No. 2.
Piano Sonata No. 17 in D minor, Op. 31, No. 2, "Tempest"
Sonate pour piano no 17 en ré mineur, op. 31 no 2, " La Tempête"
Sonata per pianoforte in re minore n. 17, op. 31 no 2, "La Tempesta",
Klaviersonate Nr. 17 d-Moll op. 31 Nr. 2, "Der Sturm"
Ludwiga van Beethovena Sonata fortepianowa nr 17 d-moll op. 31 nr 2 "Burza"
Pianosonate nr. 17 in D mineur, op. 31 nr. 2
Ludwig van Beethovenin Pianosonaatti nro 17 d-molli op. 31 nro 2

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relat...

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

Allegretto, third movement from Piano Sonata No. 17, Op. 31/2
Wilhelm Kempff, piano (Live)
The PianoSonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as "The Tempest" (or Der Sturm in his native German), but this title was not given by him, or indeed referred to as such during his lifetime; instead, it comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars. Renowned British music scholar, Donald Francis Tovey, in his authoritative book A Companion to Beethoven'sPianoforte Sonatas, states that "The story that Beethoven connected this sonata with The Tempest is evidently one of many such inventions by his biographer Anton Schindler". The third movement, in the key of D minor, is very moving, first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169-173. The recapitulation is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand and the coda which follows is quite substantial, reaching what can be considered the climax of the movement at measure 381, a fortissimo falling chromatic scale.
Ludwig van Beethoven (1770 - 1827)

Allegretto, third movement from Piano Sonata No. 17, Op. 31/2
Wilhelm Kempff, piano (Live)
The PianoSonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as "The Tempest" (or Der Sturm in his native German), but this title was not given by him, or indeed referred to as such during his lifetime; instead, it comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars. Renowned British music scholar, Donald Francis Tovey, in his authoritative book A Companion to Beethoven'sPianoforte Sonatas, states that "The story that Beethoven connected this sonata with The Tempest is evidently one of many such inventions by his biographer Anton Schindler". The third movement, in the key of D minor, is very moving, first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169-173. The recapitulation is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand and the coda which follows is quite substantial, reaching what can be considered the climax of the movement at measure 381, a fortissimo falling chromatic scale.
Ludwig van Beethoven (1770 - 1827)

Claudio Arrau Beethoven Piano Sonata No. 3 (Full)

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerk...

Daniel Barenboim: Beethoven Piano Concerto No. 1 in C major Op. 15

From the Klavierfestival Ruhr in the JahrhunderthalleBochumDaniel Barenboim, soloist and conductor
Staatskapelle Berlin
0:50 I. Allegro con brio (15:51)
17:03 II. Largo (12:07)
29:11 III.Rondo. Allegro scherzando (10:58)
In time for his 65th birthday in 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist.
Beethoven himse...

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relat...

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

From the Klavierfestival Ruhr in the JahrhunderthalleBochumDaniel Barenboim, soloist and conductor
Staatskapelle Berlin
0:50 I. Allegro con brio (15:51)
17:03 II. Largo (12:07)
29:11 III.Rondo. Allegro scherzando (10:58)
In time for his 65th birthday in 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist.
Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world.
Barenboim plays Beethoven brings together two musical masterminds.
Daniel Barenboim
Daniel Barenboim was born in Buenos Aires in 1942. He received his first piano lessons at the age of five, and was first taught by his mother. Later, he studied under his father, who would remain his only piano teacher. He gave his first public concert when he was seven. In 1952, he moved with his parents to Israel.
At age eleven, Daniel Barenboim took part in conducting classes in Salzburg under Igor Markevitch. In that summer, he also met Wilhelm Furtwängler and played for him. Furtwängler then wrote, "The eleven-year-old Daniel Barenboim is a phenomenon." In 1955 and 1956 Barenboim studied harmony and composition with Nadia Boulanger in Paris.
At age ten, Daniel Barenboim gave his international début performance as a solo pianist in Vienna and Rome; Paris (1955), London (1956) and New York (1957) then followed, where he played with Leopold Stokowski. Since then, he has regularly toured Europa and the United States, but also South America, Australia and the Far East.
In 1954 Daniel Barenboim began his recording career as a pianist. In the1960s he recorded Beethoven's piano concertos with Otto Klemperer, Brahms piano concertos with Sir John Barbirolli and all the Mozart piano concertos with the English Chamber Orchestra, this time serving both as pianist and conductor.
Ever since his conducting début in 1967 in London with the Philharmonia Orchestra, Daniel Barenboim has been in great demand with leading orchestras around the world. Between 1975 and 1989 he was chief conductor of the Orchestre da Paris, where he often programmed contemporary works by composers such as Lutostawski, Beria, Boulez, Henze, Dutilleux and Takemitsu.
Daniel Barenboim gave his début as an opera conductor at the Edinburgh Festival in 1973 with Mozart's Don Giovanni. In 1981 he conducted for the first time in Bayreuth, where he would conduct every summer tor eighteen years, until 1999.
From 1991 until June 2006 Daniel Barenboim was Music Director of the Chicago Symphony Orchestra. The musicians of the orchestra have since named him Honorary Conductor for Life. In 1992, he became General MusicDirector of the Staatsoper Unter den Linden, where he was also Artistic Director from 1992 to August 2002. In 2000 the Staatskapelle Berlin voted him Chief Conductor tor Life.
In 1999 Daniel Barenboim founded together with the Palestinian literary scholar Edward Said the West-Eastern DivanWorkshop, which brings together young musicians from Israel and the Arab countries every summer to play music together. In summer 2005, the West-Eastern Divan Orchestra presented in the Palestinian city of Ramallah a concert of historical significance.
For his music making es well as for his commitment to peace, tolerance and understanding in the world, Daniel Barenboim has been honoured with rnany an award.

From the Klavierfestival Ruhr in the JahrhunderthalleBochumDaniel Barenboim, soloist and conductor
Staatskapelle Berlin
0:50 I. Allegro con brio (15:51)
17:03 II. Largo (12:07)
29:11 III.Rondo. Allegro scherzando (10:58)
In time for his 65th birthday in 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist.
Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world.
Barenboim plays Beethoven brings together two musical masterminds.
Daniel Barenboim
Daniel Barenboim was born in Buenos Aires in 1942. He received his first piano lessons at the age of five, and was first taught by his mother. Later, he studied under his father, who would remain his only piano teacher. He gave his first public concert when he was seven. In 1952, he moved with his parents to Israel.
At age eleven, Daniel Barenboim took part in conducting classes in Salzburg under Igor Markevitch. In that summer, he also met Wilhelm Furtwängler and played for him. Furtwängler then wrote, "The eleven-year-old Daniel Barenboim is a phenomenon." In 1955 and 1956 Barenboim studied harmony and composition with Nadia Boulanger in Paris.
At age ten, Daniel Barenboim gave his international début performance as a solo pianist in Vienna and Rome; Paris (1955), London (1956) and New York (1957) then followed, where he played with Leopold Stokowski. Since then, he has regularly toured Europa and the United States, but also South America, Australia and the Far East.
In 1954 Daniel Barenboim began his recording career as a pianist. In the1960s he recorded Beethoven's piano concertos with Otto Klemperer, Brahms piano concertos with Sir John Barbirolli and all the Mozart piano concertos with the English Chamber Orchestra, this time serving both as pianist and conductor.
Ever since his conducting début in 1967 in London with the Philharmonia Orchestra, Daniel Barenboim has been in great demand with leading orchestras around the world. Between 1975 and 1989 he was chief conductor of the Orchestre da Paris, where he often programmed contemporary works by composers such as Lutostawski, Beria, Boulez, Henze, Dutilleux and Takemitsu.
Daniel Barenboim gave his début as an opera conductor at the Edinburgh Festival in 1973 with Mozart's Don Giovanni. In 1981 he conducted for the first time in Bayreuth, where he would conduct every summer tor eighteen years, until 1999.
From 1991 until June 2006 Daniel Barenboim was Music Director of the Chicago Symphony Orchestra. The musicians of the orchestra have since named him Honorary Conductor for Life. In 1992, he became General MusicDirector of the Staatsoper Unter den Linden, where he was also Artistic Director from 1992 to August 2002. In 2000 the Staatskapelle Berlin voted him Chief Conductor tor Life.
In 1999 Daniel Barenboim founded together with the Palestinian literary scholar Edward Said the West-Eastern DivanWorkshop, which brings together young musicians from Israel and the Arab countries every summer to play music together. In summer 2005, the West-Eastern Divan Orchestra presented in the Palestinian city of Ramallah a concert of historical significance.
For his music making es well as for his commitment to peace, tolerance and understanding in the world, Daniel Barenboim has been honoured with rnany an award.

Recorded during pre-concert rehearsal at Torroella de Montgri April 17 2014 .
Your next best chance to hear it live :
Paris, May 21, 2014 , Salle Gaveauhttp://www.sallegaveau.com/la-saison/831/valentina-lisitsa
Special thanks to http://www.jorquerapianos.com/ for one of the best pianos I ever encountered

40:26

Beethoven: Piano Concerto No. 3 in C Minor, Op. 37 | Classical Music

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Ludwig van Beethoven - "Tempest" Piano Sonata Nº 17 in D minor, Op. 31, No. 2.
Daniel Barenboim live in Berlin.
Movements:
I Largo - Allegrohttp://youtu.be/_CyZ2MFM4K8
II Adagio http://youtu.be/4gKkMVuiI6g
III Allegretto http://youtu.be/jtDAbP3UxPY
CompletePlaylist: http://www.youtube.com/watch?v=_CyZ2MFM4K8&list=PL647B3D6BE656FFC4&index=1
Written in 1802, the three sonatas of Beethoven's Op. 31 probably coincide with the drafting of his famous "Heiligenstadt Testament," in which he expresses despair at his enroaching deafness. If any of the composer's works from this year indicate that he had embarked on a new path, it is the Piano Sonata No. 17 in D minor, Op. 31/2. The composer famously dismissed an inquiry about the "meaning" of this work with the advice to read Shakespeare'sThe Tempest; given the music's overtly dramatic character, it is easy to see how Beethoven might have drawn parallels to, or even inspiration from, the Bard's famous romance. t is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars.
The first six measures present two vastly different ideas: an ascending Largo arpeggiation of the dominant chord, juxtaposed against a frenetic repeated-note Allegro figure that descends and halts abruptly on another dominant chord. It is this passage, and not the ascending forte arpeggios in the bass that appear a few measures later, that forms the main substance of the movement's first theme group. This becomes clear when, in the recapitulation, Beethoven dispenses with the forte passage, connecting the main and secondary themes with new material, which in itself is not an unusual sonata-form procedure. The whole represents the most concentrated, motivically conceived movement Beethoven had yet composed.
The second movement, Adagio, is in B flat major; the movement's tonality is worthy of comment here, since it plays an important modulatory role in the third movement. Like the first movement, the second is a sonata-allegro and opens with a broken triad; unlike the first movement, however, it lacks a development section, and has clearly articulated first and second themes.
The D minor finale is again a sonata allegro. The first theme outlines the tonic triad, while the contrasting second theme moves in almost completely stepwise fashion. In the development section Beethoven employs the first theme exclusively, using repetition and prolonged harmonies to create an overpowering sense of anticipation. Portentously, Beethoven provides further development in a coda that is as long as the exposition.
Ludwig van Beethoven
Sonata para Piano "A Tempestade" No. 17 em Ré menor, Op. 31, No. 2.
Piano Sonata No. 17 in D minor, Op. 31, No. 2, "Tempest"
Sonate pour piano no 17 en ré mineur, op. 31 no 2, " La Tempête"
Sonata per pianoforte in re minore n. 17, op. 31 no 2, "La Tempesta",
Klaviersonate Nr. 17 d-Moll op. 31 Nr. 2, "Der Sturm"
Ludwiga van Beethovena Sonata fortepianowa nr 17 d-moll op. 31 nr 2 "Burza"
Pianosonate nr. 17 in D mineur, op. 31 nr. 2
Ludwig van Beethovenin Pianosonaatti nro 17 d-molli op. 31 nro 2

47:35

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total mas...

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

Beethoven: Sonata No.7 in D Major, Op.10 No.3 (Lortie, Jando)

B.’s 7th Sonata, much like the 11th, is one of those that belongs firmly in the “total masterwork that no-one listens to” category, and is the last of the relatively experimental Op.10 sonatas. For a start: how about the motivic economy of this sonata? Just listen to how often the first 4 notes in the 1st mvt (a simple scalar descent offset by a single beat across a bar line) recur in drastically different guises, or the first 3 notes in the 4th mvt. There is also the sheer wealth of ideas contained in the movements: the first contains between 7 and 12 themes in the exposition alone (depending on how you count), with yet another theme emerging in the development section. The 2nd mvt is one of the most profound and heartbreaking things B. wrote, comparable to the huge glacier of the Hammerklavier’s 3rd and containing some beautiful textures. The 3rd mvt features a punchy trio and a minuet that’s alternately beautifully melodic and very contrapuntal, and the 4th mvt is a marvel of careful construction: it sounds like a movement in continuous development, so cleverly is the main theme (and its recurrent motif) treated, and yet it sounds almost improvisatory.
MVT I, Presto
EXPOSITION
00:00 – Theme 1, opening four-note descending motif (M1) The theme is repeated 4 times, the second time in the LH, the third in broken 6ths, and the fourth with syncopation.
00:20 – TransitionGroup. New melody in B minor, followed by sequential movement from (iii) to (V).
00:44 – Theme Group 2, Theme 1, opening with M1.
00:55 – Theme Group 2, Theme 2. Note M1 in bass. As the passages progresses M1 becomes more prominent and its inversion appears in the RH, leading to an exquisite modulating sequence where the accent is placed on the last beat of each bar. Bb is reached, and then at 1:10 a strong cadential close on A.
01:16 – Theme Group 2, Theme 3. Based on Theme 1
01:25 – Theme Group 2, Theme 4.
01:32 – Tonic-dominant dialogue on M1, strongly recalling TG2, T2
DEVELOPMENT
03:23 – M1, 4 bars. Theme 1 enters in D min.
03:31 – Modified Theme 1 (rhythm preserved) in Bb
03:36 – Development Theme. D min, Bb, G min, Eb
03:56 – Dominant preparation
RECAPITULATION
04:13 – Theme 1. At 4:24 diverted to E min
04:31 – Transition Group
04:53 – TG 2
CODA
05:42 – TG2, T4 extended for 4 steps
05:45 – Dialogue on M1. G/G min/Bb/Eb. The harmony thickens.
06:09 – Imitative treatment of M1 over tonic pedal
06:13 – Final crescendo over tonic pedal. Bass notes trace augmentation of M1
MVT II, Largo e mesto
06:25 – TG1, T1
07:30 – TG1, T2
08:27 – TG2, T1
09:26 – TG2, T2
DEVELOPMENT
09:53 – Episodic Melody
10:33 – Introduction of new demisemiquaver figuration (x), which alternates with preceding bar
10:46 – Dominant preparation
RECAPITULATION
11:28 – TG1
12:57 – TG2
CODA
14:00 – TG1, T1 in extreme bass. D min, Bb, Eb min, then climbing in chromatic steps
14:46 – (x) over dominant pedal
15:12 – TG1, T1. Closing with Neapolitan flavor, before final cadences with dissonant upper tonic pedal enter and the piece dies away in single notes.
MVT III, Menuetto: allegro
16:50 – Menuet. Second strain using imitative counterpoint at 17:16, and codetta at 17:38
18:18 – Trio.
18:41 – Menuet
MVT IV, Rondo: allegro
19:28 – Theme, containing M1 (F-G-B), which is developed at m.3.
19:48 – Transition
20:01 – Episode 1
20:16 – Theme
20:36 – Episode 2, in sudden Bb. Dialogue on M1 answered in free inversion above. At 20:39 modulating theme appears (Bb, G min, Eb, F min). Note inversion of M1 in RH in m.35, 37, 39. At 20:57 theme appears in F, then pauses before M1 is developed in tonic minor in a sphinxlike chromatic passage.
21:19 – Theme. The transition is diverted to
21:50 – Episode 3, beginning on the dominant of B min, with M1 in inner part. Enharmonic move into 6/4 of Bb. At 22:03 home dominant reached.
22:12 – Theme, with decoration.
22:30 – Coda. Imitative development of M1 in contrary dialogue in RH. At 22:49 M1 in bass, shadowed by RH, then 4 bars of chord preserving M1’s rhythm moving through (bII) to 23:02, with M1 tapering in bass with tonic pedal and semiquaver decoration in RH.

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